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by Scott Yanow Joe Newman, one of the very few musicians (other than Freddie Green) to play for long periods with Count Basies orchestras of both the 1940s and 50s, had an unclassifiable trumpet style. Influenced early on by Louis Armstrong and more prominently by Harry Sweets Edison, Newman was a mainstream player who was versatile enough to hold his own with Count Basies younger (and generally boppish) sidemen. Born to a musical family in New Orleans, Newman not only played with the college band at Alabama State College, but took over its leadership. He gained important early experience playing with Lionel Hamptons big band (1941-43) before joining Basie (1943-47). He was a featured sideman with Illinois Jacquets popular group and also worked with J.C. Heard. Newmans second period with Basie (1952-61) gave him his greatest fame, as he shared solo space with Thad Jones. The trumpeter also recorded extensively during this era a leader for Vanguard, Storyville, Jazztone, Savoy, Coral, Roulette, Swingville and Mercury; his four near-classic RCA sessions have been reissued as a two-CD set. After leaving Basie, Newman toured the Soviet Union with Benny Goodman (1962), freelanced around New York, and became involved with Jazz Interactions (a nonprofit organization that educated youth about jazz), serving as its president starting in 1967. In later years, Joe Newman fared well at the 1972 Newport in New York jam sessions, guested with the New York Jazz Repertory Company, toured with Benny Carter, and led sessions for Black & Blue and Concord. He also founded Jazz Interactions, a New York-based organization that educated children about jazz and promoted concerts.

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